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February 28, 2013

Thanks to all who came to see us at BVE2013. The freelance seminar, in particular, was a huge success. Even though the seminar room was at least twice the size as previous years, there were still about 30 people standing, most of whom stuck it out to the end - so, sorry if you ended a tiring day even more tired than you should have been.

We got a great response, with lots of people asking further questions as we packed up, and some very nice messages on Twitter after the event, such as:

Nelly Diancova‏@DiamondsNickles@UrbanFoxTV Marvellous presentation today. I am so driven to
follow all the pieces of advice you shared with the audience. Big Thank you !

Jamie Montgomery‏@scuuk@UrbanFoxTV hey Christina, many thanks for the great
seminars over the last couple of days at BVE.

Jayne Topping‏@JayneTopping1@UrbanFoxTV Hi Christine - seminar yesterday was very
helpful. Can you point me in the direction of the seminar info please? Thank
you.

For anyone else, like Jayne, who wants to view the presentation
to get all the links and information they couldn’t scribble down, the PDF of
the PowerPoint is available at http://www.urbanfox.tv/seminar/

The earlier Skills Zone session down on the exhibition floor
was also rather packed, although in much more limited space it was never going
to be easy for everyone to crowd around or be able to hear everything. However, it was
good to be able to answer people’s questions directly.

Unfortunately, the room was less than a third full, partly,
it seems because the brochure description of the seminar didn’t really explain
what it was about, according to some of those that came. However, there were more than enough questions to push us
ten minutes over our time slot, so we hope that anyone who did come along got
something out of it.

BVE itself certainly managed to draw the crowds, despite the move to docklands, although, like us, most arrived later in the morning than they did previously. Still, there was lots of interest on the show floor, some very good deals available, and lots of people to meet that we hadn't seen in ages....

February 22, 2013

Broadcast Video Expo is Britain’s best conference and
exhibition for anyone working in the video industry. It has lots of interesting
FREE seminars to attend, and is probably the single best place to find out what
is happening and make new contacts.

Previously it took place at Earls Court, which was ideal for
those of us in what is a west-London-centric industry. However, this year it
moves to the Excel Centre in distant east London, so it’s lucky that the
seminars we’re taking part in aren’t early in the morning…

There are apparently 283 seminars in total (including those
in specific manufacturer’s theatres), so BVE is a great opportunity for some
free training. There are also supposed to be 331 exhibitors, so there is a lot
to see and do – it’s worth making the journey.

When we’ve done Q&A sessions at previous BVE conferences
they have always been packed, so we’ve got another “ask the experts” session
this year (Tuesday 5pm), with the assistance of some well known names to answer
your questions on any aspect of production and post-production, covering
cameras, audio, lighting, editing, and general production problems you may
have.

We’ve got a group of independent experts to answer your
questions, all experienced industry professionals and media trainers. The
current line-up includes the ebullient Matt Davis - www.mdma.tv, the
effervescent Alex Gollner - www.alex4D.com, and the ever audible Nick Way -
www.nickway.co.uk (although as they are all freelance, that might change….), as
well as ourselves. So do come along and bring your questions.

The clinic will be held in the Producers' Seminars Theatre from 17:00
- 17:45, 26 Feb 2013.

Christina will be taking part in one of the drop-in Skills
Zone sessions on Wednesday at 4pm, to answer questions about running your own
media business. The Skills Zone is worth checking out if you want to develop your career, as there are sessions
about CV writing, tax, contracts, script writing, pitching, and starting out in
cameras.

The seminar will be held in the Skills Zone Theatre from 16:00
- 16:45, 27 Feb 2013.

On Wednesday (5pm) Christina is giving her ever-popular talk
on how to survive and even thrive as a freelancer in a digital, self-shooting world (this is always packed - as seen in the photo from last year, so
come early if you want a seat….). It is particularly useful for anyone starting
out in the industry, but there will probably be many things that will be useful
for people who have even been freelance for several years.

It will cover all the essentials from getting work to
getting paid, including the three most important lessons she has learnt as a
freelancer…

The seminar will be held in the Producers' Seminars Theatre from
17:00 - 17:45, 27 Feb 2013.

LMC LiveMotionConcept supplied multiple Antelope
UltraSlowMotion systems plus various analysis tools for the Austrian
broadcaster ORF for the Alpine Skiing World Championships in Schladming. It
also supplied a wireless slo-mo system for the recent Ladies Masters European
golf.

In Austria, it supplied the host broadcaster with two mobile
production vehicles, one of which had two Antelope MkIIs UltraSlowMotion
systems and one Pico PoV UltraSlowMotion on board.

The MkIIs systems were moved between the men’s and women’s
slopes every day with the help of helicopters. During the event they recorded
at up to 2,500 frames per second. Thanks to the new enhanced detail function,
which is implemented in the latest version of the MkIIs CCU, it was possible to
show even little details of the action during each skier’s run.

The Antelope Pico (pictured above) was mounted in the middle of the main
grandstand to record crowd reaction at up to 340fps. This was the first time at
a major FIS skiing event that this sort of emotional replay was shot at high
speed.

A brand new version of the Pico will be available just
before NAB. It’s based on an improved 2K high-speed chip and supplies live
video output in all HD formats plus a de-flickered replay channel with up to
340fps.

LMC also supplied a special Antelope replay feed, which was
delivered to the “ORF House” in Schladming using Riedel Communications’
MediorNet real-time fibre network. A huge LED Cinemascope display was used to
show this impressive replay feed to spectators at the championships throughout
the day.

The second LMC vehicle was in charge of the analytical
content for the world feed and ORF’s national programme.

LMC supplied a Dartfish system to record the clean world
feed, plus feeds of three isolated analysis cameras, to produce analysis clips
as either Simulcam (where the races of two individual competitors are
composited together to compare them side by side) or Stromotion (where a skier’s
progress is seen as a sequence of stills composited together). The isolated
camera feeds were pre-cut on a LGZ Replay System.

The finished analysis sequences were clipped on an EVS XT2HD system and played out both into the national ORF outside broadcast truck and
into the two international OB trucks for the women’s and the men’s world feed
signals.

LMC also installed a Paint Touchscreen in the ORF studio.
Its switchable input gave the studio experts an opportunity to graphically
enhance their in-depth analysis and actively step in and show where a split of
a second might make a difference.

Ladies Masters on AIR

LMC also recently deployed an Antelope AIR for the second
time at the Ladies European Tour golf finals in Dubai. The Omega Ladies Masters
is the grand finale of the busy LET season.

LMC's CEO Felix Marggraff, who is also the Ladies European Tour TV director, used the Antelope AIR not just as a live replay camera but also to record graphic
backgrounds or even to shoot features with the players.

“The Antelope AIR is a great camera to show not just
technical aspects but also the beauty of the sports” said Dirk Glittenberg, CEO
of U.COM Media, the production company in charge of all LET media coverage.

The Antelope AIR is the wireless version of the MkIIs and
fully remote-controllable. Both HD-SDI video and full telemetry are received
and operated from the TV compound. The camera operator has full freedom on the
golf course and can concentrate on the images.

“It’s great that our cameraman does not have to fiddle
around with triggering, shading or any other technical stuff,” said Marggraff,
who has directed the live and highlight coverage for LET since 2009.

The Antelope AIR includes all the functions of the MkIIs,
such as enhanced detail, multi matrix, de-flickering and intuitive remote and
operating controllers.

The World Feed Live Production of the 2013 season will start
at the South African Woman’s Open on 19April.

Vinten will show the third pan and tilt head in its Vision
blue range at BVE in London next week. The Vision blue3 sits between the
original Vision blue (payload range 2.1-5kg/4.6-11lb) and the recently launched
Vision blue5 (5.5-12kg/12.1-26.5lb), balancing intermediate payloads of between
3.0-6.6kg (6.6-14.6lb), making it ideal for 1/3-inch chip camcorders and DSLRs.

The Vision blue range has all of the key features associated
with Vinten’s heads, such as infinitely adjustable Perfect Balance and LF drag
technology to provide smooth control and consistent movement quality.

“The Vision blue range has been designed to make the filming
process effortless, enabling the camera operator to release his or her
creativity. The new Vision blue3 completes the range and brings uncompromised
professional performance to the broadest range of users, regardless of the
payload of the camcorder and its accessories,” said Andrew Butler, Vinten’s strategic
planning and project manager.

The Vision blue3 will be shown publically for the first time
on Vinten’s stand #F022 at BVE 2013, which takes place at Excel London on 26-28
February, where, as usual, we'll be taking part in some of the free seminars.

February 20, 2013

Arri has refreshed its digital cinema camera range with the
new Alexa XT (Xtended Technology), which will offer: a compact, built-in Raw
recorder capable of recording up to 120 frames per second at high quality; a
built-in neutral density filter; a 4:3 sensor that can be used with anamorphic
lenses; full support for lens data; a new, stronger viewfinder mounting bracket;
and an even quieter fan.

The Alexa XT, Alexa XT M, Alexa XT Plus and Alexa XT Studio
cameras will replace all previous models except for the original Alexa. Owners
of existing Alexa cameras will be able to purchase individual upgrades that
deliver most of the features of the XT configuration, including the XR
recording module, ND filter module, viewfinder mounting bracket, viewfinder
extension bracket, XT Fan and the anamorphic de-squeeze and high speed
licenses.

XR Module

Feature films often record Arriraw to capture uncompressed,
unencrypted image data so that they have maximum flexibility in post. Recent movies
that recorded in Arriraw include Skyfall, Life of Pi, Marvel’s The Avengers,
Hugo, Zero Dark Thirty and Amour.

However, recording in Arriraw has previously involved using
an external recorder, such as the Codex Onboard, but a lot of users have asked
for built-in Arriraw recording, which is why Arri decided to work with Codex to
develop the new XR Module. The camera’s modular design means that existing
Alexa owners will also be able to quickly swap in the new module for the
existing SxS card module.

The result is a smaller, lighter, more affordable, cable-free
camera package that records Arriraw inside the camera, at up to 120fps. It uses
fast, rugged 512GB XR drives that can also be used to record Apple’s ProRes or
Avid’s DNxHD formats, including ProRes 4444 at 120fps. At 6.7Gbps the
solid-state XR Capture Drive is claimed to be the fastest digital magazine
available. With an SxS Adapter it is possible to record ProRes or DNxHD to a
single SxS PRO card, so you can still use existing cards.

For post production the XR Capture Drive offers several
different workflows familiar to anyone who has used Codex recorders. First, a
small, affordable USB3 Single Dock allows quick, safe copying of data onto a
laptop. Second, the Dual Dock can make clones of XR Capture Drives and connect
to a Mac Pro via a high-speed SAS interface for speedy copying, archiving or
dailies creation. And third, the Codex Vault is a modular and rugged all-in-one
system for fast, easy copying, archiving, reporting or dailies creation on or
near set.

Neutral Density

The new In-camera Filter Module IFM-1 allows Alexa XT models
to be rated at the base sensitivity of EI 800 without the need for external ND
filters, even in bright sunlight. Filtering behind the lens rather than in
front is quicker and simpler and reduces weight and reflections. The IFM-1 offers
eight densities, from ND 0.3 to ND 2.4.

True anamorphic sensor

A lot of moviemakers prefer using anamorphic lenses, to give
the CinemaScope look. These squeeze the wider aspect ratio on to the 4:3 sensor
that is now standard on the XT cameras (it was previously only available on
high-end Alexas). The sensor is the same size and shape as a Super 35mm film
frame, so it is also useful for HD productions as it permits significant
reframing of the image in post, similar to shooting 4-perforation 35mm film. An
anamorphic de-squeeze license is included with all XT cameras, as is a high-speed
license for filming at up to 120fps.

Lens metadata

If you are doing anything complex in post, particularly
visual effects, it is very useful to have access to lens metadata (which will
record what iris, focus and zoom settings you are using for every shot). All
the XT models are equipped with an LDS lens mount. The Arri Lens Data System reads
the position of all lens rings and writes them into metadata in every format Alexa
can record. More than 41 lens models have LDS built-in, including the Arri/Zeiss
Master Anamorphic, Master Prime and LDS Ultra Prime series, the Master Macro
100 and the Arri/Fujinon Alura Lightweight Zooms. For all other lenses it is
possible to store the lens table inside the Alexa by using the Lens Data
Archive feature.

Viewfinder mounting

To make the camera a little easier and more comfortable to use,
there is a new Viewfinder Mounting Bracket (VMB-3), with a much stronger, more
rigid design, partially achieved through the use of two 15mm lightweight rods.
These rods also facilitate rapid changes in camera support, i.e. from a tripod
to a crane or Steadicam, since accessories such as lens motors or follow focus
units can be hung from the rods rather than cluttering up the base plate. Also
available as a separate accessory is the new Viewfinder Extension Bracket (VEB-3),
with a foldout arm that holds the viewfinder securely in place when moving the
camera.

Silence of the fans

Alexa cameras are some of the quieter digital cameras, but a
new, improved fan has been included in the XT models, to make it more usable in
very quiet or very hot environments.

February 06, 2013

Sony will release a new H.264-based codec this month to
enable its equipment cope with resolutions beyond HD, as well as higher frame
rates, while delivering higher quality pictures. It looks likely to be Sony’s
new core codec, so it could play an important role in future productions.

Once Sony’s new PMW-F5 and PMW-F55 4K cameras start shipping
(sometime before BVE), users will be able to take advantage of the new, more
efficient, mid-range XAVC codec, which has been designed for 4K, and will offer
both intra frame and the more efficient Long GoP encoding. It will also allow
higher framerate recording at 1080p.

Sony is offering the F5 and F55 as multi-format cameras,
rather than just XAVC, “so that they would fit within the workflow people want
rather than restricting choice,” said Product Specialist Sebastian Leske.

The cameras will support four codecs: XAVC, for high frame
rates and 4K; MPEG2 at 50Mbps; MPEG4 SStP (Sony’s SR Master codec); and Raw 4K,
“by the switch of a button, depending on what job you want to do,” added
Olivier Bovis, Sony’s Head of AV Media.

XAVC is an extension of H.264 (AVC/MPEG4), using the highest
Level 5.2 of the standard, so it is very solid in terms of multi-generational
support, he explained.

However, as Sony already had HDCAM SR and Raw on offer, why
did it need yet another codec?

“The data rate from an F65 sensor can be as much as 35Gbps,
whereas the new SxS Pro+ cards can go up to 1.3Gbps. So, we still need
efficient compression to take all that data and package it in a manageable
way,” explained Strategic Marketing Manager Peter Sykes. Besides, MPEG2 simply
couldn’t cope with 4K, whereas XAVC is not only able to handle higher
resolution but higher frame rates too.

He doesn’t believe that Raw is suitable for every-day
production as it results in much higher data rates and can't be used as an
interchangeable format. Although Raw offers all the flexibility some
productions may need for high-end postproduction, it is inextricably linked to
the camera sensor, which complicates the workflow and makes it less suited to
productions that need to use a variety of different cameras.

Multiple formats

The F5 and F55 can record existing XDCAM HD formats at
50Mbps or 35Mbps, HDCAM SR (MPEG4 SStp) at up to 220Mbps or XAVC at 440Mbps.
For 4K work, you’ll be able to use intra-frame XAVC at 10-bit 4:2:2, which will
require 240Mbps at 24p or 600Mbps at 60p. For HD, it will record 10-bit 4:2:2,
at up to 60p, at 200Mbps. It can also deliver proxy 4:2:0 images at low bit
rates. Users will be able to choose between 8- and 10-bit recording for both
XAVC and MPEG2.

XAVC uses an MXF wrapper, as it is “industry standard and
well recognised,” said Sykes, and its implementation is identical to Sony’s
MPEG2 and MPEG4 SStP MXF OP-1a files.

“It is an enabling technology for a range of products that
will emerge from now on,” he added. “It’s a major part of our plan for our
acquisition products. XAVC will become the core codec for applications beyond
HD and for higher frame rates.”

“To drive beyond HD we had to develop XAVC,” agreed Leske.
“The design is future ready.” It will be able to do 4:4:4 (where it will be
able to go up to 1.2Gbps), although the F5 and F55 will use HDCAM SR for 4:4:4
work.

“To go beyond HD we needed a new codec, but it is also useful
for 1080 50p and 60p,” he added. “It uses a different mechanism to keep the
highest quality we can. It allocates more bits to the details (like hair) than
for flat areas (like a wall).”

This uses bit estimation, the same procedure as used for DVD
authoring, which estimates what bit rate you need to get the highest quality.
If it doesn’t reach it, it does it again. Used as an intra-frame codec, XAVC
will do this for each frame, so they are all recorded to the highest possible
quality.

At present, H.264 codecs set the parameters for a recording
when you start recording, and stick to them, whereas XAVC can change them every
frame, so that when you shout ‘Action’, and there is suddenly lots of movement
and fine detail in the shot, you aren’t limited to parameters set when nothing
was happening.

Sykes believes that 4:2:2 10-bit XAVC at 100Mbps “will be a
good basis for broadcast infrastructure and relatively easy to handle.”

Open season

XAVC has been developed as an open format, providing a
license program for other manufacturers in the broadcast and production
industry to develop their own high quality and high frame rate products.

“It is a codec we are going to be using for lots of
different applications,” said Sykes. Sony developed the low power consumption
chipset used in the cameras. This not only does XAVC, but also processes MPEG2
– and because it is so fast can do both at once, so that the F55 can record
both 4K XAVC and XDCAM HD at 50Mbps simultaneously to its SxS Pro+ card.

Currently, it seems that the XAVC workflow will be supported
by such manufacturers as: Adobe (CS6 with Rovi Total Code Plug-in installed),
Apple [[UPDATE - Sony XAVC plug-in for Final Cut Pro X (version 10.0.8) now available to download]], Avid, Grass Valley, Quantel and Sony (Vegas Pro 12) for non-linear
editing; Assimilate, Codex, Colorfront, FilmLight, MTI and YoYotta for on-set
dailies; Assimilate, FilmLight and Quantel for colour grading; Rovi for
software codec management; and Matrox for a codec board.

The F5 is designed for HD on-board recording, requiring an
external recorder for 4K, whereas the F55 can record 4K internally as well as
HD.

On-board recording, in whatever format, will typically
require about 25 Watts, but adding the external Raw recorder will add an extra
22W. With the viewfinder attached the complete camera will require about 50W,
which is good for a 4K camera recording Raw.

For 16-bit 4K Raw, the system runs at data rates of up to
2.4Gbps for 60p, but this will only be possible with the new Sony AXS-R5
recorder, which fits to the camera body with no need for cabling. The cameras
will be able to record both Raw externally and XAVC internally at the same
time.

PMW-1000 Deck

To support XAVC (and SxS recording in general), Sony has
just announced the new PMW-1000 Memory Recording Deck. This is a half-rack
sized recorder, with two SxS memory card slots and VTR-like jog/shuttle
operations, that is suitable for both studio and Outside Broadcast use – and is
the first stand-alone recorder to handle the new codec.

Following the launch of the PMW-F5 and PMW-F55 CineAlta
cameras, “the PMW-1000 studio recording deck is the next natural step to bring
enhanced and easy workflow support,” said Fabien Pisano, Strategic Marketing
Manager, Sony Europe. “The versatility of the PMW-1000 in terms of interfaces,
coupled with linear-like operation and the ability to record the XAVC HD format
on SxS media, make it an ideal choice for broadcasters and production houses
looking for an affordable, quality production solution or for a smooth
transition from SD to HD.”

PMW-1000 users can select recording and playback formats
from HD (XAVC, MPEG HD422 and MPEG HD420 50/35/25Mbps) and SD (MPEG IMX
50/40/30Mbps and DVCAM 25Mbps) in a variety of frame rated. For anyone who
still has to do some work in SD (are there many?) the recorder is designed to
make the transition to HD easier, and can also do up-and-down conversion
from/to HD.

The PMW-1000 offers a wide range of AV and IT interfaces
including: HD-SDI, SD-SDI, HDMI, and composite outputs. An RS-422 interface
enables it to be used as a feeder for linear editing while a Gigabit Ethernet
(1000BASE-T) port allows for high-speed file transfer in network or non-linear
operations. The PMW-1000 also includes a HDMI output at the rear for easy
monitoring on HD displays.

A USB interface on the front panel enables easy
connection of external USB HDDs without a PC for the direct copying of clips.

It also boasts three-way power source selection. It can
operate on AC, DC or battery power, and so it can even be used on location. It
should be available in Europe from April.

Procam order

The 4K cameras seem to be attracting a lot of interest. One
of the UK’s biggest broadcast hire facilities, Procam TV, has just spent
£500,000 on the PMW-F5 and PMW-F55. Procam believes it is the largest single
transaction of its kind in the broadcast hire industry.

It is getting its first instalment of 12 cameras this month,
and expects considerable demand from its current customers as well as attracting
new clients.

Panasonic’sAG-HPX600 can now have LiveU’s video uplink
technology integrated in the camera to make it easier to stream live news or
events.

HPX600 users will have to download a software upgrade key (AG-SFU603G
– a paid upgrade of about £215), which will allow them to incorporate LiveU’s LU40 portable lightweight uplink system into the camcorder.

The LU40 and the HPX600 are connected via SDI and USB, and live
camera video can be transmitted through up to six bonded WiFi, 3G and 4G
cellular connections via the LU40. The upgrade will allow users to start and
stop the uplink from the camera, while the LU40 status will be displayed on the
HPX600’s viewfinder.

Panasonic hopes to work with other uplink companies to offer
similar features on a wide range of uplink systems.

About UrbanFox.TV

Christina Fox has trained thousands of broadcasters, videographers, and others to use camcorders - her long list of clients includes: the BBC, Channel 4, ITN, NBC, Discovery, MTV, the Press Association, Endemol, and UK government departments.

Full details about the training she offers, including tutorials and rewritten, easy-to-understand manuals for some of the most popular professional camcorders, are at UrbanFox.TV.She also writes about gardening and photography at the Photographer's Garden blog

David Fox has worked for various broadcasters as a writer, producer, director, and reporter in TV and Radio, and has worked as a journalist for national newspapers and magazines in the UK and Ireland. Amongst other things, he writes regularly about TV technology for TVB Europe magazine.